Project 3: Patrick Thomas

Patrick Thomas

English artist Patrick Thomas (Liverpool, 1965) is an iconographiste. His graphic art is rooted in popular imagery that is routinely repurposed and recomposed; he transforms the most common visual artifacts into uncommon commentary on society and politics.

Gibson

UK Gun Crime

Brocken Icon

The Bewick Fox

K&R Black

Project 3: Tracy Kendell

Tray Kendell
Tracy Kendall is a clever and seasoned screen printer, first doing her fine art for a degree in Manchester and then working at the Royal College of Art and doing her MA in London. All the prints are hand produced by Tracy in a small (but long!) South London Studio.

fork

knife

Project 3: Artist Martin Sharp

Martyin Sharp

Martin Sharp (born 1942) is an Australian artist, underground cartoonist, songwriter and film-maker. Sharp has made contributions to Australian and international culture since the early 60s, and is hailed as Australia's foremost pop artist. His famous psychedelic posters of Bob Dylan, Donovan and others, rank as classics of the genre, alongside the work of Rick Griffin, Hapshash and the Coloured Coat and Milton Glaser. His covers, cartoons and illustrations were a central feature of Oz magazine, both in Australia and in London. Martin also co-wrote one of Cream's most famous songs, "Tales of Brave Ulysses", and in the 1970s, he became a champion of singer Tiny Tim, and of Sydney's embattled Luna Park.

Martin was born in Sydney in 1942, and was educated at the National Art School at East Sydney.. In 1961, he enrolled for two terms in Architecture at Sydney University before returning to the NAS.

Project 3: The art

Screen printing: is a printing technique that uses a woven mesh to support an ink-blocking stencil. The attached stencil forms open areas of mesh that transfer ink as a sharp-edged image onto a substrate. A roller or squeegee is moved across the screen stencil, forcing or pumping ink past the threads of the woven mesh in the open areas.

Screen printing frames

The process

Screen printing press

Project 3: Site Three photos

Project 3: Intial Site Analysis

Opportunities

- It’s central location on King Street allows for heavy pedestrian traffic for a front entrance
-there is an interesting relationship between the angled wall and King Street
-The 3 storey adjacent building block allows for the gallery’s 3 storey height or double storey ceilings
- Pedestrians stop at the 3 Road junction (Eliza, King and Wilson Street ) for traffic lights. From this location they have clear view of the site’s front facade
- Surrounded by a variety of multicultural establishments may encourage a broad range of customers to the proposed gallery
-Spanish tapas bar
-Turkish Take- away
- Middle eastern furnishings store
- Japanese –sushi train
- Italian restaurant
- Out of the three sites , this location is the closest to the Newtown station and is also in close proximity to a number of bus stops

Constraints

- King street is extremely noisy with car traffic as well as pedestrian noise
- There is no on street parking on King street close to the site
- The site is boxed in on 2 of it’s longest largest facades. This will prevent the building from incorporating opening on the east and west facades
- The North facade backs onto a massive concrete 3 storey building. This will block allot of the northern sun.

Project 3: Initial Sketches

These sketches were a series of rooms and how their different opening would manipulate light.

Project 3: Precedents

Project 2: Final Drawings

Site plan/Parti 1:50

Parti Plan and Section

Shadow Plan and Section 1:150

Section 1:50

Axonometric 1:100

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Parti

The burning drive for this project was adapted from the painting "The office at Night" by edward Hopper (1940). I was immediately fascinated by the undercurrent of sexual tension between the man and his secretary and how the room they inhabit and the stalk white light emphasises this.

As a result I have explored the idea of a impenetrable room within my parti drawings. This room is obious and in plain sight, yet there is no way to get in. It is a tantalising yet forbidden space.

Site

The site for this project is within the dark and bustling city of Chicargo Illinois of the 1940's. Buildings were masculine, imposing and masculine. The room I have designed acts as a building itself, almost becoming lost whilst nestled alongside other buildings with faceless unadorned facades.

Formal configuration

There are only two openings in this rooms design. The first is the glass ceiling. This is specifically designed to allow as much light to flood the space as possible. This forces the forbidden room to cast a large dark shadow on the floor of the space. The second, much more subtle opening is the door to the room from the site. It is hidden as the side of the building, and is slightly ajar. It is located a metre from the ground and very difficult to get through.

Flights of stairs lead upwards and hug the walls. Each step has slightly different tread and riser widths that are confusing and hard to climb. Small square alcoves are recessed in the wall of the room which house the accountant’s filing cabinets. These alcoves also house platforms that reach close to the forbidden room.

The forbidden room hangs, suspended within the centre of the office tower. It is large forboding, enticinga nd seductive.It dominates the space and cannot be ignored.

Program

With difficulty the hair-brained accountant reaches the front door of his office tower and is immediately confronted by the shadow of the forbidden room looming above. To avoid this unbearable shadow he busies himself with filing within the cabinets located in the recessed alcoves of the walls. These alcoves offer some respite from the forbidden room but not enough. They also offer a podium upon which he can get closer to the forbidden room. Thus, the Tower of inner turmoil is created!

Materiality

The materials for this project were chosen carefully to help convey the narrative and the spatial atmosphere. Almost the entire model aswell as the site were made with white screen board. However I covered the exterior faces with budget reports that I had washed with a dull grey watercolour. I did this to create a sense of industrial heaviness and corporate monotony. It makes the exterior appear conforming and faceless. The interior of the model I left white to emphasis the stalk almost sterile whiteness of the space exposed to the suns harsh light during the day. The ‘forbidden room’ within is made from balsa, which is a material closer to mother nature and could be considered more feminine. I have painted it a sultry red. A colour often associated with women and sex.

Project 2: Final Model

Project 2: Final Narrative

'The Office at Night' edward Hopper, 1940

In his lofty, slightly skewed office tower, the harebrained accountant files desperately in an attempt to distract himself from the room that cannot be entered, but cannot be ignored.


This narrative is based around a confused and chaostic accountant who works in a tall lofty office building. Within this office building lies another room, which is forbidden. There is no way to get into the room but it is everywhere he looks, obvious and tempting. It represents the woman that the accountant wants but cannot have. As a result the accountant busies himself with filing accounts within the recesses of the office walls.

Project 2: Draft narrative concept model